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Note on this edition: this is an electronic version of the 1999 book ...

Note on this edition: this is an electronic version of the 1999 book ...

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Technodem<strong>on</strong>s <strong>of</strong> <strong>the</strong> Digital Self 227to blend. The basic message <strong>of</strong> Mercer <strong>is</strong> ambivalent, <strong>on</strong>e <strong>of</strong> suffering <strong>an</strong>dcomforting c<strong>on</strong>necti<strong>on</strong>: “There <strong>is</strong> no salvati<strong>on</strong>. […] [Y]ou aren’t al<strong>on</strong>e. […]It <strong>is</strong> <strong>the</strong> basic c<strong>on</strong>diti<strong>on</strong> <strong>of</strong> life, to be required to violate your own identity.”114 For Deckard, <strong>the</strong> fundamental dilemma <strong>is</strong> that he simult<strong>an</strong>eouslyhas to feel empathy – even love – towards <strong>an</strong>droids, <strong>an</strong>d yet kill <strong>the</strong>m, in orderto be a “hum<strong>an</strong>” individual. Th<strong>is</strong> individuality <strong>is</strong> based <strong>on</strong> a paradox: “individual”<strong>is</strong>, by definiti<strong>on</strong>, something indiv<strong>is</strong>ible <strong>an</strong>d whole. 115 Deckard has alove affair with Rachael Rosen, a female Nexus-6 who has artificial memories<strong>an</strong>d who initially believes that she <strong>is</strong> a hum<strong>an</strong> being. Deckard thinks thatRachael helps him to capture o<strong>the</strong>r <strong>an</strong>droids, whereas her real goal <strong>is</strong> tomake him fall in love with <strong>an</strong> <strong>an</strong>droid, <strong>an</strong>d incapacitate him as a bountyhunter. 116 Love <strong>an</strong>d <strong>the</strong> pain <strong>of</strong> betrayal works in Deckard’s case to dem<strong>on</strong>strateto him both <strong>the</strong> necessity <strong>of</strong> borders towards <strong>the</strong> <strong>an</strong>droid o<strong>the</strong>rness,<strong>an</strong>d how necessary it <strong>is</strong> to violate <strong>the</strong>se borders to really underst<strong>an</strong>d <strong>the</strong> relati<strong>on</strong>shipbetween hum<strong>an</strong>s <strong>an</strong>d <strong>an</strong>droids. Deckard’s true identity, in <strong>the</strong> end,<strong>is</strong> not completely “individual,” not clearly separate from <strong>the</strong> o<strong>the</strong>rs. Even <strong>the</strong><strong>an</strong>droids with <strong>the</strong>ir dem<strong>on</strong>ic traits c<strong>an</strong>not be completely set apart fromDeckard’s true self. Deckard goes through <strong>the</strong> traumatic ep<strong>is</strong>ode <strong>of</strong> “killing<strong>the</strong> things he loves”: 117“I’m sorry, Mrs. Baty,” Rick said, <strong>an</strong>d shot her.Roy Baty, in <strong>the</strong> o<strong>the</strong>r room, let out a cry <strong>of</strong> <strong>an</strong>gu<strong>is</strong>h.“Okay, you loved her,” Rick said. “And I loved Rachael.” He shot RoyBaty; <strong>the</strong> big m<strong>an</strong>’s corpse lashed about, toppled like <strong>an</strong> overstacked collecti<strong>on</strong><strong>of</strong> separate, brittle entities […]. 118Afterwards, Deckard experiences a sp<strong>on</strong>t<strong>an</strong>eous fusi<strong>on</strong> with Mercer; hefeels that he becomes Mercer, without <strong>the</strong> c<strong>on</strong>soling awareness <strong>of</strong> o<strong>the</strong>r Mer-114DA, 156.115 The etymology <strong>of</strong> “individual” <strong>is</strong> based <strong>on</strong> <strong>the</strong> Middle Engl<strong>is</strong>h me<strong>an</strong>ing ‘single,’ ‘indiv<strong>is</strong>ible’,derived from Old French, <strong>an</strong>d ultimately from Medieval Latin indîviduâl<strong>is</strong>(Latin indîviduus : in-, not + dîviduus, div<strong>is</strong>ible ). (Americ<strong>an</strong> Heritage Dicti<strong>on</strong>ary.) – Theinhum<strong>an</strong>ity <strong>of</strong> <strong>an</strong>droids c<strong>an</strong> be linked with <strong>the</strong>ir lack <strong>of</strong> childhood: <strong>the</strong>y may have childhoodmemories, but <strong>the</strong>ir bodies do not carry <strong>an</strong>y biological b<strong>on</strong>d to <strong>an</strong>o<strong>the</strong>r org<strong>an</strong><strong>is</strong>m(mo<strong>the</strong>r). In psychological terms, <strong>th<strong>is</strong></strong> image c<strong>an</strong> be interpreted according to <strong>the</strong> lines <strong>of</strong>attachment <strong>the</strong>ory; Victoria Hamilt<strong>on</strong> has used “attachment” ra<strong>the</strong>r th<strong>an</strong> “b<strong>on</strong>d” (whichhas negative <strong>an</strong>d restricting c<strong>on</strong>notati<strong>on</strong>s) to describe <strong>the</strong> bas<strong>is</strong> for our communicati<strong>on</strong><strong>an</strong>d coex<strong>is</strong>tence. “Inherent in attachment <strong>the</strong>ory <strong>is</strong> <strong>the</strong> noti<strong>on</strong> that <strong>the</strong> first inf<strong>an</strong>tmo<strong>the</strong>rrelati<strong>on</strong>ship creates that structure which governs later attachments. Since <strong>an</strong> attachment<strong>is</strong> like <strong>an</strong> inner c<strong>on</strong>struct, it <strong>is</strong> stable <strong>an</strong>d ex<strong>is</strong>ts across space <strong>an</strong>d time.” (Hamilt<strong>on</strong>1982, 7.) C<strong>on</strong>temporary psychological <strong>the</strong>ories, such as <strong>th<strong>is</strong></strong>, suggest that unbrokenpsyche <strong>is</strong> a paradox: psychic “wholeness” carries always something <strong>of</strong> <strong>the</strong> o<strong>the</strong>r in it.116 DA, 175.117“Yet each m<strong>an</strong> kills <strong>the</strong> thing he loves, / By each let <strong>th<strong>is</strong></strong> be heard, / Some do it with<strong>the</strong> bitter look, / Some with <strong>the</strong> flattering word, / The coward does it with a k<strong>is</strong>s, / Thebrave m<strong>an</strong> with a sword! […] For each m<strong>an</strong> kills <strong>the</strong> thing he loves, / Yet each m<strong>an</strong> doesnot die. // For he who lives more lives th<strong>an</strong> <strong>on</strong>e / More deaths th<strong>an</strong> <strong>on</strong>e must die.” (“TheBallad <strong>of</strong> Reading Gaol” [1898] by Oscar Wilde.)118DA, 197.

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